Leif Ove Andsnes follows his Mozart concerto disc of K271 and K456 (12/04) with K453 and K466, this time offering a dramatic study in contrast. And here, once more, his enviably natural, unforced clarity and musicianship shine through every bar and subtle ambiguity. Very much primus inter pares, Andsnes’s sense of give and take as both soloist and director of the Norwegian Chamber Orchestra is as remarkable as his unfailing musical grace. For all his recognisable individuality, he so clearly comes from a line of musicians (I am thinking of Lipatti, Solomon and Clara Haskil) who by appearing to do so little end by achieving virtually everything.

His overall directness may be disarming but then you hear him at 6'09" in the G major Concerto’s opening Allegro and note how his slight easing of the tempo allows him to capture a momentary clouding of the music’s radiance. Again, the quirky chromatic descents before the concerto’s bustling presto coda are so precisely but unostentatiously characterised.

How easy, too, to underestimate the sheer quality of Andsnes’s playing when in the D minor Concerto he balances its romantic turbulence with such unfailing poise and lucidity. Lavish coloration and elaborate nuance (Barenboim’s early set of the concertos) he leaves to others, always content to allow Mozart his own voice. Cadenzas are by Mozart, Beethoven and, in the finale of K466, Andsnes. There are discreet flourishes and ornamentation when required and the recordings are as devoid of artifice as the playing. This is a memorable addition to this princely young pianist’s discography.